Soprano Sarah Moulton Faux carries light into the dark corners of music history. She digs through archives, unearths manuscripts untouched for decades, and builds the scholarly foundation before she ever steps onstage. Her "full, silvery soprano" (Opera News) becomes the instrument through which silenced composers finally speak.

Her album YULIYA (Azica Records) is the fullest expression of this calling—the first modern recordings of Julia Weissberg Rimsky-Korsakov's art songs, compositions silent for over a century. Weissberg Rimsky-Korsakov, daughter-in-law of famed composer Nikolai Rimsky-Korsakov, studied under luminaries including Engelbert Humperdinck and Max Reger before her flourishing career was extinguished by war, antisemitism, and her death during the Nazi siege of Leningrad. Moulton Faux uncovered the forgotten scores at the Russian State Library in Moscow during the pandemic and has now returned them to the world.

Produced by seven-time Grammy® winner and Lifetime Achievement Award recipient Judith Sherman, YULIYA features Moulton Faux alongside pianist Konstantin Soukhovetski. Textura praised her "luminous voice," noting that the duo "prove to be equally effective whether they're delivering lyrical reveries, entrancing fairy tales, or aching laments."

This pattern—discovery, scholarship, performance—defines Moulton Faux's artistic identity. Her debut album, Where Should This Music Be? Songs of Lola Williams (New World Records), also produced by Sherman, earned her the American Prize Ernst Bacon Memorial Award. Fanfare Magazine declared: "Sarah Moulton Faux is stunning: her devotion to this music shines through every syllable…a glorious disc." She co-edited Williams's handwritten manuscripts and created modern editions through Classical Vocal Reprints, opening the repertoire to other performers.

Onstage, Moulton Faux moves fluidly between beloved heroines and rare works. She made her professional debut with New York City Opera in their acclaimed Candide at Lincoln Center's David H. Koch Theater. Since then she has performed Violetta (La Traviata), Gilda (Rigoletto), Susanna (The Marriage of Figaro), Rosina (Il Barbiere di Siviglia), Musetta (La Bohème), and Zerlina (Don Giovanni) with Regina Opera, Amore Opera, and Chelsea Opera. Her Gilda "embodied all the piercing lyrical innocence demanded of a moving Gilda with perfect Italian diction" (Allegri Con Fuoco). The Philadelphia Inquirer praised her "fine sense of Baroque style" in Pergolesi's Stabat Mater opposite countertenor Anthony Roth Costanzo with Symphony in C under Rossen Milanov.

Beyond performance, Moulton Faux shapes the future of American opera. As Co-President of the Board of Directors of American Opera Projects—the nation's leading opera development company—she earned an Opera America National Trustee Recognition Award. She made her Brooklyn Academy of Music debut in AOP's The Climate Opera Project and brings curatorial intelligence to her recital programming: A Room of Her Own, a staged production exploring the life of Mozart contemporary Marianna Martines; thematic programs on Parisian salons and the secret love lives of composers.

A graduate of Barnard College, Columbia University in Asian & Middle Eastern Studies (magna cum laude with departmental honors), she holds a Master of Music in Voice Performance & Pedagogy from Westminster Choir College, graduating with honors. She serves on the boards of American Opera Projects and Southampton Cultural Center.